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GILMER 


KING  SHAKESPEARE 


J 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 
LOS  ANGELES 


•JM«0  'uojipois 


BRIEF 


i 


KJNG  SHAKESPEARE 


A  MASQUE  OF  PRAISE 


KING  SHAKESPEARE 


A  MASQUE   OF   PRAISE   FOR 
THE   SHAKESPEARE   TERCENTENARY 


WRITTEN   FOR  THE   DRAMA   LEAGUE  OF   BOSTON 

BY 


ALBERT  HATTON(  GILMER 

ASSISTANT   PROFESSOR   OF   ENGLISH,  TUFTS  COLLEGE 


COMPLIMENTS  OF 

GINN  AND  COMPANY 


COPYRIGHT.  1916.  BY 

ALBERT  HATTON  GILMER 


gfae   athenaeum   jirtgg 

C.1NN  AND  COMPANY  •  PRO- 
PRIETORS •  BOSTON  •  U.S.A. 


?F 


v 


FOREWORD 


For  the  many  readers  and 'teachers  of  Shakespeare,  whether  they 
be  in  schools,  colleges,  or  clubs,  desiring  some  form  of  appropriate 
exercise  wherewith  to  commemorate  the  tercentennial  of  their  be- 
loved author's  death,  is  issued  this  booklet.  The  little  Masque  — 
if  such  it  may  be  termed,  since  it  embodieth  neither  sweet  music  nor 
graceful  dance,  yet  waxeth  strong  in  compliment,  the  essence  of  the 
Masque  —  was  devised  for  the  Drama  League  of  Boston,  and  first 
presented  at  the  Shakespeare  Revels  of  the  Twentieth  Century  Club 
in  that  city.  The  passages  contained  herein  comprise  those  fair 
and  honest  terms  and  words  indited  by  the  persons  represented  ; 
hence  it  is  believed  that  in  what  place  soever  the  ceremony  proveth 
not  convenient  for  setting  forth  upon  a  stage,  it  may  prove  of  use 
and  interest  for  reading  in  classrooms  wherein  are  studied  the 
works  of  the  master. 

The  Masque  is  not  unlike  a  victim  of  fell  Procrustes''  bed, 
inasmuch  as  both  are  adaptable  to  the  length  and  needs  of  the  user. 
If  the  ceremony  as  printed  be  too  long,  it  ?nay  be  shortened  by  the 
careful  omission  of  some  who  speak  or  appear ;  if  too  short,  it  may 
be  lengthened,  after  exercise  of  skillful  judgment,  by  the  addition 
of  other  writers  and  actors  of  note  and  worth,  of  which  there  be 
many,  —  as  Mr.  Pope,  Mr.  S.  Johnson,  Mr.  Pepys,  Mr.  and  Mrs. 
Browning,  Mr.  Booth  and  Air.  Irving, — who  have  honored  the 
memory  of  our  great  dramatist  by  their  seemly  words  of  commen- 
dation. Only  see  to  it,  howsoever  you  modify  the  form,  you  change 
not  the  spirit. 

That  none  who  wish  it  may  be  without  a  fitting  means  of 
respectful  celebratioti  for  the  memorable  occasion,  the  Masque 
may  be  freely  presented  anywhere ;  this  through  the  permission 
of  the  author  and  the  publishers.  a%  ffw  Q, 

Tufts  College,  February,  ig/6 

[3] 


11057;, 


I 6 I 6— i 9 i 6 

"  Any  time  these  three  hundred  years  " 

Merry  Wives  of  Windsor,  I,  I,  12 

"  Not  marble,  nor  the  gilded  monuments 
Of  princes,  shall  outlive  this  powerful  rhyme. 

When  wasteful  war  shall  statues  overturn, 

And  broils  root  out  the  work  of  masonry, 

Nor  Mars  his  sword  nor  war's  quick  fire  shall  burn 

The  living  record  of  your  memory. 

'Gainst  death  and  all-oblivious  enmity 

Shall  you  pace  forth ;  your  praise  shall  still  find  room, 

Even  in  the  eyes  of  all  posterity 

That  wear  this  world  out  to  the  ending  doom." 

The  Fifty -fifth  Sonnet 

"  He  was  not  of  an  age,  but  for  all  time !  " 

Ben  fonson 


[4] 


KING  SHAKESPEARE 


[5] 


CHARACTERS  REPRESENTED 

Allegorical  Figures  (non-speaking) 

Father  Time 

Tragedy 

Comedy 

In  the  Seventeenth  Century 

John  Heming 
Henry  Condell 
Ben  Jonson 
William  Basse 
John  Milton 

In  the  Eighteenth  Century 
David  Garrick 

In  the  Nineteenth  Century 

Ralph  Waldo  Emerson 
Thomas  Carlyle 


The  passing  of  Father  Time  across  the 
stage  indicates  the  passing  of  a  centu?y. 
All  characters  enter  from  left  (actors' 
standpoint)  and  go  out  right.  Time's 
entrances   and  exits   are   the   opposite. 


[6] 


KING  SHAKESPEARE 

[Well  to  the  front  of  the  stage  hangs  a  curtain  of  black,  deep 
red,  or  some  neutral  color,  against  the  center  of  which  is  a  bust 
{or  picture)  of  Shakespeare  upon  a  pedestal  or  table.  At  the  right 
side  of  the  stage  stands  a  figure  of  Tragedy,  in  black,  holding  a 
classical  tragic  mask.  In  her  girdle  is  a  dagger.  On  the  left 
sta?ids  a  figure  of Comedy ',  gowned  in  yellow,  with  bright  flowers 
in  her  hair.  She  holds  a  comic  mask ;  in  her  girdle  is  a  fool's 
bauble.] 

From  the  left  enter  Heming  and  Condell.  Heming  carries  a 
huge  volume,  a  copy  of  the  First  Folio  Edition,  leather  bound, 
and  in  size  about  sixteen  inches  long,  eleven  wide,  and  three 
thick.  It  contains  the  thirty-six  plays  of  Shakespeare.  He 
bows  to  the  bust  and  then  to  the  audience.  Condell  stands 
beside  the  pedestal. 

Heming.    When  fierce  devouring  flames  'gan  to  destroy 
The  Globe,  our  bank-side  playhouse  on  the  Thames, 
My  friend  Condell,  with  me,  did  rescue  from 
Those  blazing  walls  the  precious  manuscripts 
Our  friend  and  fellow-actor,  Shakespeare,  wrote. 
We  hand  them  on  to  eyes  of  generations 
Yet  unborn,  and  in  this  book  do  bring 
The  issue  first  of  all  his  works  complete. 
This  worthy  volume,  it  is  writ  for  all  — 
"  From  the  most  able,  to  him  that  can  but  spell. 
There  you  are  numbered.    We  had  rather  you  were  weighed. 
Especially,  when  the  fate  of  all  books  depends  upon  your  capaci- 
ties ;  and  not  of  your  heads  alone,  but  of  your  purses.    Well ! 
It  is  now  public,  and  you  will  stand  for  your  privileges  we 

[7] 


KING  SHAKESPEARE 

know :  to  read  and  censure.  Do  so,  but  buy  it  first.  That 
doth  best  commend  a  book,  the  stationer  says.  Then,  how  odd 
soever  your  brains  be,  or  your  wisdoms,  make  your  license  the 
same,  and  spare  not.  Judge  your  six-penny  worth,  your  shilling's 
worth  at  a  time.  But  whatever  you  do,  buy.  And,  though  you 
be  a  magistrate  of  wit,  and  sit  on  the  stage  at  Blackfriars,  or 
the  Cock-Pit,  to  arraign  plays  daily,  know  these  plays  [Holds 
forth  the  book]  have  had  their  trial  already,  and  stood  out  all 
appeals,  and  do  now  come  forth  quitted  rather  by  a  decree  of 
court,  than  any  purchased  letters  of  commendation." 

[Bows  and  retires,  hands  volume  to  Condell,   and 

stands  beside  the  pedestal] 

Condell.  [Steps  fonvard  and  bows]  "It  had  been  a  thing 
we  confess,  worthie  to  have  been  wished,  that  the  author  him- 
self had  lived  to  have  set  forth  and  overseen  his  own  writings. 
But  since  it  hath  been  ordained  otherwise,  and  he  by  death 
departed  from  that  right,  we  have  collected  and  published  them, 
absolute  in  their  numbers  as  he  conceived  them,  —  who,  as  he 
was  a  happy  imitator  of  nature,  was  a  most  gentle  expresser  of 
it.  His  mind  and  hand  went  together,  and  what  he  thought,  he 
uttered  with  that  easiness,  that  we  have  scarce  received  from 
him  a  blot  in  his  papers. 

"  But  it  is  not  our  province,  who  only  gather  his  works  and 
give  them  you,  to  praise  him.  It  is  yours  that  read  him.  And 
there  we  hope  you  will  find  enough,  both  to  draw  and  to  hold 
you  ;  for  his  wit  can  no  more  lie  hid  than  it  could  be  lost.  Read 
him,  therefore,  and  again  and  again.  And  if  then  you  do  not 
like  him,  surely  you  are  in  some  manifest  danger  not  to  under- 
stand him.  And  so  we  leave  you  to  other  of  his  friends,  whom, 
if  you  need,  can  be  your  guides ;  if  you  need  them  not,  you  can 
lead  yourselves  and  others.    And  such  readers  we  wish  him." 

[Bows,  steps  back,  and  places  the  book  at  the  foot  of  the 
bust.    Heming  and  Condell  kneel  before  it] 
[8] 


KING  SHAKESPEARE 

Father  Time  appears,  right.  He  is  old,  with  ivhite  hair  and 
lo?ig  white  beard,  and  wears  a  long  gray  (or  white)  cloak.  At 
his  beckoning,  Heming  and  Condell  pass  out,  right.  Time 
follows  them  out.  Jonson  enters,  left ;  sees  the  bust,  stops  before 
it,  and  meditates. 

Jonson.    {Addressing  the  bust]  ..."  Soule  of  the  Age  ! 
The  applause  !  delight !  the  wonder  of  our  stage  !  " 

[Turns  to  the  audience  and  points  to  the  bust] 
"  Nature  herself  was  proud  of  his  designs, 
And  joyed  to  wear  the  dressing  of  his  lines ! 
Which  were  so  richly  spun  and  woven  so  fit, 
As,  since,  she  will  vouchsafe  no  other  wit."    [Addresses  the  bust] 
"  Yet  must  I  not  give  Nature  all :  thy  Art, 
My  gentle  Shakespeare,  must  enjoy  a  part, 
For  though  the  Poet's  matter,  Nature  be, 
His  Art  doth  give  the  fashion.    And,  that  he, 
Who  casts  to  write  a  living  line,  must  sweat, 
(Such  as  thine  are)  and  strike  the  second  heat 
Upon  the  Muses'  an  vile ;  turn  the  same, 
(And  himself  with  it)  that  he  thinks  to  frame ; 
Or  for  the  laurell,  he  may  gain  a  scorne, 
For  a  good  Poet 's  made,  as  well  as  borne. 
And  such  thou  wert,  Sweet  Swan  of  Avon !  " 
"  My  Shakespeare,  rise  !  " 

Basse  enters,  left ;  pauses  and  listens. 

"  I  will  not  lodge  thee  by 
Chaucer  or  Spenser,  or  bid  Beaumont  lie 
A  little  further  to  make  thee  a  roome," 
In  dark  Westminster's  sacred  gloom. 

Basse.    [Steps  forward  and  interrupts] 
Nay,  nay,  good  friend  of  his  and  mine, 
Entomb  him  with  the  poet  line. 

[9] 


KING  SHAKESPEARE 

"  Renowned  Spenser,  lie  a  thought  more  nigh 
To  learned  Chaucer,  and  rare  Beaumont,  lie 
A  little  nearer  Spenser,  to  make  room 
For  Shakespeare  in  your  threefold,  fourfold  tomb. 
To  lodge  all  four  in  one  bed  make  a  shift 
Until  Doom'sday,  for  hardly  will  a  fift 
Betwixt  this  day  and  that  by  fate  be  slain, 
For  whom  the  curtains  shall  be  drawn  again." 

Jonson.    Nay,  Master  Basse,  't  is  hollow  honor  craved  ! 
Our  poet's  bones  must  not  be  huddle-graved ! 

[Turns  to  the  audience] 

;t  I  loved  the  man  and  do  honor  his  memory  on  this  side 
idolatry,  as  much  as  any.  He  was  indeed  honest,  and  of  an 
open  and  free  nature  ;  had  an  excellent  phantasy,  brave  notions, 
and  gentle  expressions."  [Addresses  the  bust] 

"  Thou  art  a  monument,  without  a  tombe, 
And  art  alive  still  [Points  at  the  volume] ,  while  thy  booke  doth  live; 
And  we  have  wits  to  read  and  praise  to  give." 
Time  enters,  right,  and  beckons.    Jonson  and  Basse  bow  to 

Sliakespeare,  then  pass  out,  right.    John  Milton,  with  long 

locks  and  attired  as  a  Puritan,  enters.    He  nods  as  if  he  had 

overheard  the  dispute. 

Milton.  [To  himself]  Oncemorehath  Ben  the  upper  argument 
And  will  of  others  to  his  own  hath  bent. 
Yea! 

[K  What  needs  my  Shakespeare  for  his  honored  bones, 
The  labor  of  an  age  in  piled  stones  ? 
Or  that  his  hallowed  relics  should  be  hid 
Under  a  star-ypointing  pyramid  ? 
Dear  son  of  Memory,  great  heir  of  Fame, 
What  needst  thou  such  weak  witness  of  thy  name  ? 
Thou,  in  our  wonder  and  astonishment, 
Hast  built  thyself  a  livelong  monument." 

[10] 


KING  SHAKESPEARE 

Time  enters,  right,  and  beckons.  Milton  bows  to  the  bust  and 
obeys  Time's  summons.  Time  crosses  the  stage  from  right  to 
left.  In  passing  he  looks  questioningly  at  the  bust  of  Shake- 
speare, passes  out,  left. 

David  Garrick  enters,  wearing  a  cloak  and  bearing  a  laurel 
(or  oak)  wreath.  He  greets  Tragedy  and  Comedy,  who  return 
his  bow.    Before  the  hist  he  bows. 

Garrick.  [To  the  bust]  "  Look  down,  blest  spirit,  from  above, 

With  all  thy  wonted  gentleness  and  love. 

Sweetest  bard  that  ever  sung, 

Nature's  glory,  Fancy's  child  ; 

Never,  sure,  did  witching  tongue 

Warble  forth  such  wood-notes  wild  !  " 

r  Turning  to  the  audience\ 
This  laurel  then  L  6  J 

"  To  him  the  first  of  poets,  best  of  men. 

'  We  ne'er  shall  look  upon  his  like  again  '  — 

But  his  name  and  undiminished  fame 

Shall  never  pass  away. 

Let  Fame,  expanding  all  her  wings, 

With  all  her  trumpet-tongues  proclaim 

The  loved,  revered,  immortal  name ! 

Shakespeare  !  Shakespeare  !  Shakespeare  !  " 

[He  places   the  wreath    upon  the  book  and  addresses 

"  Then  view  thou  thy  work,  the  bus{\ 

To  Nature  sacred  as  to  Truth." 

[He  then  throws  aside  his  cloak,  and  recites  from  "  As 
You  Like  It,"  the  Seven  Ages  of  Man] 
"  All  the  world's  a  stage, 
And  all  the  men  and  women  merely  players : 
They  have  their  exits  and  their  entrances ; 
And  one  man  in  his  time  plays  many  parts, 
His  acts  being  seven  ages.    At  first  the  infant, 

[11] 


KING  SHAKESPEARE 

Mewling  and  puking  in  his  nurse's  arms. 

And  then  the  whining  school-boy,  with  his  satchel 

And  shining  morning  face,  creeping  like  snail 

Unwillingly  to  school.    And  then  the  lover, 

Sighing  like  furnace,  with  a  woeful  ballad 

Made  to  his  mistress'  eyebrow.    Then  the  soldier, 

Full  of  strange  oaths,  and  bearded  like  the  pard, 

Jealous  in  honor,  sudden  and  quick  in  quarrel, 

Seeking  the  bubble  reputation 

Even  in  the  cannon's  mouth.    And  then  the  justice, 

In  fair  round  belly  with  good  capon  lined, 

With  eyes  severe  and  beard  of  formal  cut, 

Full  of  wise  saws  and  modern  instances  ; 

And  so  he  plays  his  part.    The  sixth  age  shifts 

Into  the  lean  and  slippered  pantaloon, 

With  spectacles  on  nose  and  pouch  on  side, 

His  youthful  hose,  well-saved,  a  world  too  wide 

For  his  shrunk  shank ;  and  his  big  manly  voice, 

Turning  again  toward  childish  treble,  pipes 

And  whistles  in  his  sound.    Last  scene  of  all, 

That  ends  this  strange  eventful  history, 

Is  second  childishness  and  mere  oblivion, 

Sans  teeth,  sans  eyes,  sans  taste,  sans  everything." 

Father  Time  enters,  right,  and  beckons.  Garrick  picks  up 
his  cloak,  bows  to  the  bust,  waves  farewell  to  Comedy  and 
Tragedy,  who  wave  to  him  as  he  departs.  Father  Time 
crosses,  stopping  a  few  seconds  to  gaze  upon  the  bust,  and  passes 
out,  left.  Carlyle  and  Emerson  enter,  left,  engaged  in 
conversation. 

Emerson.  Yes,  that  is  true.  "  His  mind  is  the  horizon 
beyond  which  at  present  we  do  not  see.  What  mystery  has 
Shakespeare  not  signified  his  knowledge  of?" 

Carlyle.  Aye,  "  he  penetrated  into  innumerable  things.  He 
knew  what  men  are  and  what  the  world  is." 

[12] 


KING  SHAKESPEARE 

Emerson.  "  I  am  always  happy  to  meet  persons  who  per- 
ceive the  transcendent  superiority  of  Shakespeare  over  all  other 
writers."  [They  walk  to  the  bust] 

Carlyle.  [Pointing  to  bust]  "  In  spite  of  the  sad  state  Hero- 
worship  now  lies  in,  consider  what  this  Shakespeare  has  actually 
become  among  us.  Which  Englishmen  we  ever  made  in  this 
land  of  ours,  which  million  of  Englishmen,  would  we  not  give 
up  rather  than  this  Stratford  peasant  ?  There  is  no  regiment 
of  the  highest  Dignitaries  that  we  would  sell  him  for.  He  is 
the  greatest  thing  we  have  yet  done.  For  our  honor  among 
foreign  nations,  as  an  ornament  to  our  English  House-hold,  what 
item  is  there  that  we  would  not  surrender  rather  than  him  ?  If 
they  asked  us,  '  Will  you  give  up  your  Indian  Empire  or  your 
Shakespeare,  you  English  ? '  .  .  .  should  not  we  be  forced  to 
answer :  '  Indian  Empire  or  no  Indian  Empire,  we  cannot  do 
without  Shakespeare !  Indian  Empire  will  go  at  any  rate,  some 
day,  but  this  Shakespeare  does  not  go ;  he  lasts  forever  with 
us.    We  cannot  give  up  our  Shakespeare.' 

"  Before  long  there  will  be  a  Saxondom  covering  great  spaces 
of  the  globe.  Now  what  can  keep  all  these  together,  so  that 
they  do  not  fall  out  and  fight,  but  live  in  peace,  in  brotherlike 
intercourse,  helping  one  another?  This  King  Shakespeare  is 
the  noblest,  gentlest  yet  strongest  of  all  rallying  signs.  Where- 
soever English  men  and  women  are,  they  will  say  to  one  another, 
'  Yes,  this  Shakespeare  is  ours :  we  produced  him,  we  speak 
and  think  by  him  ;  we  are  of  one  blood  and  kind  with  him  !  It 
is  a  great  thing  for  a  nation  that  it  get  an  articulate  voice  to 
speak  forth  melodiously  what  the  heart  of  it  means.' ' 

Time  appears,  right,  and  beckons.  After  bowing,  Carlyle  and 
Emerson  depart.  Tragedy  and  Comedy  cross  and  kneel,  one  at 
each  side  of  the  bust.  Time  enters,  stands  before  the  bust,  crowns 
it  with  the  laurel  wreath,  takes  the  book  from  the  pedestal,  opens 
it,  gazes  upon  it,  closes  and  then  presses  it  to  his  heart,  and  kneels. 

Curtain 
[13] 


KING  SHAKESPEARE 


SUGGESTIONS  FOR  COSTUMING 

Full-length  portraits  of  all  the  speaking  characters,  except  Heming, 
Condell,  and  Basse,  are  available  in  illustrated  histories  of  English 
literature.  If  it  is  not  convenient  to  "make  up"  or  costume  the 
persons  in  detail,  they  may  be  gowned  in  long  cloaks  of  different 
colors  and  cut,  and  wear  hats  suggestive  of  the  several  periods.  If 
possible,  attire  the  persons  of  the  Masque  as  follows  : 

Heming,  Condell,  Basse  :  Characteristic  Elizabethan  costume 
—  doublet,  hose,  cloak,  ruffs,  plumed  velvet  hats.  Beards  and 
moustaches  of  the  time.  (Make-up  hair  may  be  put  on  easily  with 
spirit  gum.  These  are  obtainable  at  a  costumer's  or  at  drug  stores.) 
Shoes  of  velvet  or  soft  leather. 

Jonson  :  Plain  dress  of  hose  and  close-fitting  coat  with  large  white 
collar  that  spreads  out  like  a  ruff.  Thin  short  beard  and  roughly 
roached  light  hair.  May  wear  long  brown  coat.  Soft,  slipper-like  shoes. 

Milton:  Puritan  costume;  suit,  cloak,  shoes,  stockings,  and  hat 
all  of  black.  White  collar  and  cuffs.    Long  hair  falling  down  over  ears. 

Garrick  :  Customary  eighteenth-century  suit  of  long  vest,  long 
coat  with  white  lacy  cuffs,  white  stockings  and  low  shoes.  Neck- 
cloth of  white  with  jabot  of  same  color.  Powdered  bagwig  of  white, 
curled  up  at  the  sides  of  the  head.  The  clothes  may  be  of  a  variety 
of  solid  colors.    Scant  satin  knickerbockers. 

Carlyle,  Emerson  :  Long  coats  of  black,  plain  waistcoats,  beaver 
hats.  Collars,  turndown  or  with  wide  opening  in  front,  with  black, 
old-fashioned  stocks.  Soft  black  boots.  Carlyle  has  rough  beard 
of  dark  gray,  with  moustache.  Emerson  is  smooth  faced,  except  for 
thin  gray  side  whiskers. 


[14] 


ANNOUNCEMENTS 

FOR  TEACHERS  AND  STUDENTS 
OF  SHAKESPEARE 


THE    NEW   HUDSON 
SHAKESPEARE 

NOW  PUBLISHED  AT  30  CENTS  THE  VOLUME 

The  New  Hudson  Shakespeare  holds  a  leading  place 
among  the  many  school  editions  of  Shakespeare.  In  its 
power  to  impart  to  the  student  the  actual  spirit  of  Shake- 
speare and  his  times  it  stands  supreme.  In  the  new  edition 
the  notes  and  introductions  have  been  brought  into  accord 
with  the  latest  results  of  Shakespearean  scholarship,  while 
retaining  all  that  made  Dr.  Hudson's  work  so  distinctively 
of  value. 

Some  of  the  features  of  superiority  which  mark  this  as 
the  ideal  edition  for  school  use  are : 

The  notes,  incomparable  for  their  suggestive  power,  placed 
at  the  bottom  of  each  text  page  —  full  but  not  too  full. 

The  analysis  of  dramatic  construction  by  act  and  scene 
for  each  play. 

The  historical  discussions  of  plot  sources. 

The  text,  based  upon  that  of  the  First  Folio,  with  the 
significant  variant  readings  of  Quartos,  Folios,  and  other 
leading  editions  given  at  the  foot  of  the  page. 

The  physical  beauty  of  the  books.  A  flexible  binding  of 
blue  cloth,  light,  convenient,  and  attractive,  especially  suits 
this  edition  to  the  uses  of  the  student. 

The  price,  30  cents  per  volume,  which  together  with  all 
the  editorial  excellence  distinguishes  this  edition  as  a  rare 
opportunity  for  the  student  as  well  as  for  the  general  reader. 

On   the  following  page  is  given  a  list  of  the  plays  that  have  already  appeared 

and  others  soon  to  be  published.    Write  for  an  attractive  special  pamphlet 

giving  full  information  about  this  important  new  edition  of  Shakespeare 


THE  NEW  HUDSON 
SHAKESPEARE 

Each  volume,  30  cents 

THE  volumes  listed  below  in  the  first  group  have 
been  published,  and  the  others  will  follow  at  short 
intervals,  until  the  entire  list  of  twenty-three  vol- 
umes has  been  completed. 


A  Midsummer  Night's 

Dream 
As  You  Like  It 
Hamlet 
Julius  Caesar 
King  Henry  the  Fifth 
King  Lear 


Macbeth 

Much  Ado  About 

Nothing 
The  Merchant  of 

Venice 
The  Tempest 
Twelfth  Night 


2~c^3> 


Coriolanus 
Richard  the  Second 
Richard  the  Third 
Romeo  and  Juliet 
King  John 

Antony  and  Cleopatra 
Cymbeline 


Henry  the  Fourth 

Parti 
Henry  the  Fourth 

Part  II 
Henry  the  Eighth 
Othello 
The  Winter's  Tale 


SHAKESPEARE:    HIS  LIFE,  ART, 
AND  CHARACTERS 

BY  HENRY  NORMAN  HUDSON,  LL.D. 

Two  volumes,   i2mo,  1003  pages 
Cloth,  $4.00;  half  morocco,  $8.00 

THIS  has  been  called  the  greatest  work  in  the  field 
of  aesthetic  criticism  of  Shakespeare  yet  produced  in 
this  country,  and  the  equal  of  the  best  by  English 
and  German  scholars.  It  will  be  found  of  great  value 
in  the  school,  public  or  private  library,  and  should 
be  available  for  the  use  of  all  students  who  are  mak- 
ing a  general  or  detailed  study  of  Shakespeare's  plays. 

Volume  I  contains  chapters  on  the  Life  of  Shake- 
speare, a  historical  sketch  of  the  Origin  and  Growth 
of  the  Drama  in  England,  Shakespeare's  Contempo- 
raries, Shakespeare's  Art,  and  Shakespeare's  Charac- 
ters as  depicted  in  his  Comedies.  Volume  II  contains 
an  admirable  discussion  of  the  characters  in  his  his- 
torical plays  and  tragedies,  and  a  comprehensive  index. 

GINN  AND  COMPANY  :  Publishers 

Boston    New  York    Chicago    London    Atlanta    Dallas    G>lumbus    San  Francisco 
53° 


-I9I- 


Qinn  and  Company 

Cjentlemen :  We  should  like  to  have  you  quote  us  net 
prices  to  schools  and  dealers  on  the  cI^ew  Hudson  Shake- 
speare. 'During  the  year  we  shall  probably  use  the  fol- 
lowing plays : 


Please  quote  us  net  price  on  Shakespeare's  "  Life,  oArt, 
and  Characters  "  fo.b.,  nearest  office  (see  description  on 
following  page).    Please  check  preferred  edition. 

|  2  vols.,  cloth  binding,  list  price,  $4.00 
J  2  vols.,  half  morocco,  list  price,  $8.00 

cName. 

Position 

oAddress.- 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 

Los  Angeles 

This  book  is  DUE  on  the  last  date  stamped  below. 


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